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IFIVE CENTURIES 
Ngc77 i OF DRAWING/ 

The Cooper Union Centennial Exhibition 

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Selected and arranged by The Cooper Union Museum 

Circulated by The American Federation of Arts 

i959-!9 61 



COVER ILLUSTRATION: Catalogue Number 42 




The American Federation of Arts, with headquarters at 108] Fifth Avenue, New York 
City, is a national, non-profit, educational organization, founded i<)OQ in Washington, D.C. 
and incorporated ipi6 in the State of New York. It is composed of chapter, individual, and 
corporate members. The purpose of the Federation is to cultivate the appreciation and foster 
the production of art in America. This is carried out through a program of activities 
including traveling exhibitions, publications, national and regional conferences and con- 
sultation services. 



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2-5 ~ C 0n\oo ftr 4e Advancement of Sclent dnJ Art 

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LlBRARlES^^ 

In celebration of the centennial of The Cooper Union, The Cooper Union Museum 
for the Arts of Decoration has organized this exhibition, comprising one hundred frames 
of drawings chosen from some twenty-five thousand in the Museum's collection. The 
specific selection will confirm the general notion that has got abroad over the years — 
that there are many drawings in the Museum — and, more than this, it will show some- 
thing of the unparalleled variety of subject-matter to be found here. The study of a 
collection of such range has naturally required some length of time, and as has happened 
in other museums, organization and detailed examination bring to light unexpected 
treasures. 

Taken by itself, the phrase "decorative arts" conveys little enough; but when one 
sees these designs for architecture, sculpture, engraving, book ornament, metalwork, 
interior design, textiles and painting, pictorial and decorative, one can form a clearer 
idea of the kinds of drawings that the Museum has collected and is interested in con- 
tinuing to collect, of past and present artistic creation. 

This collection was originally inspired by the organization of the Musee des Arts- 
Decoratifs in Paris. Peter Cooper's granddaughters, the Misses Sarah Cooper Hewitt and 
Eleanor Gamier Hewitt, travelling abroad in the 1880's and early 1890's, determined 
to pattern their personal collecting upon it, but focused their attention upon the acquisi- 
tion of books, drawings and prints pertaining principally to the French 18th century, a 
period they discerned as sadly neglected in our country at this time. With a collecting 
zeal comparable to that of the brothers de Goncourt, the quality of their own early 
acquisitions was so encouraging that they proceeded in 1895 to found The Cooper Union 
Museum for the Arts of Decoration, which is still today unique in the United States. 

From its founding, the expansion of the Museum's collection of drawings has been 
well favored. In 1900 the Museum was able to purchase a large portion of the Giovanni 
Piancastelli collection in Rome. In 1911, with the help of generous contributions from 
public-spirited New Yorkers, the Hewitts were able to purchase the entire collection of 
French ornamental drawings formed by the Sevres architect, Leon Decloux, son of the 
maitre-serrurier to Louis Philippe. In 1938 the balance of the Piancastelli collection, 
with some exceptions, was made available for purchase by Mrs. Edward D. Brandegee, 
whose husband had acquired it in Rome shortly after the Museum's initial purchase. In 
this way the preponderant share of the original collection pertaining to the Italian 
decorative arts from the 17th to the 19th centuries — including no less than a thousand 
items from the oeuvre of Valadier and of Giani — was reunited. 

The outstanding collection of over seven thousand American drawings, which con- 
tains the major portion of the graphic works of Church and the largest single concentra- 
tion of Homer's drawings, is composed mainly of gifts from various artists themselves, 
or from their heirs. It is indeed remarkable that nearly the entire collection of drawings 
has come to the Museum either through the generosity of the individual owners or 
through funds contributed by The Friends of the Museum and its forerunner, the Council 
for the Museum. 

Like any other assemblage of drawings representing five centuries, the present 
exhibition offers a variety of elements for examination. Some viewers may be interested 
in physical differences — the variety of media that appear here, and the great range in 
modes of draftsmanship. Others, overlooking entirely the relationship between medium 

3 



and expression, will be primarily interested in the subject-matter and its relationship 
with the cultural life of the succeeding centuries. Still others perhaps will find their 
greatest interest in the clarity with which decorative designers have so succeeded in 
crystallizing their concepts that the executant could proceed with full comprehension 
of his part in the final realization. 

But whatever be the nature of the onlooker's own interests, this exhibition is pre- 
sented in the hope that the quality of these drawings, so unlike those of more familiar 
types, will give pleasure and will serve as a reminder of the further pleasures that await 
the welcome visitor to The Cooper Union Museum. 

Richard Paul Wunder 
Curator of Drawings and Prints 



Special thanks are due Mr. Calvin S. Hathaway, Miss Cornelia J. Henry, and Mrs. 
Olga Berendsen, of The Cooper Union Museum, for the irnportant part they have played 
in the preparation of the material and the catalogue for this exhibition. 

This catalogue is arranged chronologically, as far as possible, by date of drawing 
within country. The carrier for all drawings is understood to be white paper unless other- 
wise indicated. In measurements, height precedes width. The bibliography given is only 
that which refers specifically to the drawing in question; listings in exhibition catalogues 
are not here recorded. The abbreviation "C.U.M." refers to Cooper Union Museum 
publications. 



Catalogue 




Catalogue Number I 



ITALY 



1 Benozzo Gozzoli (1420-1497), Attributed to 

SKETCH OF A CLASSICAL STATUE OF THE VENUS PUDICA TYPE 

Silverpoint heightened with white on prepared paper. 6% x 3% in. (172 x 092 mm.) 

Coll.: Piancastelli 
Once possibly part of a sketchbook (of about 1475) that included other copies of antique 
sculpture, this drawing may represent a Hellenistic statue seen by the artist in the Medici 
collection in Florence. 

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. [96]; A. Mongan, One Hundred. 
Master Drawings, 1949, p. 18; C.U.M. Illustrated Survey, 1957, p. 14. 

; 



2 Nicolelto Rosex da Modena (active 1500- about 1507), Attributed to 

DESIGN FOR A BRONZE CANDLESTICK BASE 

Pen and ink. 10J16 x 7% in. (262 x 194 mm.) 
The attribution of this drawing is based on similarities with Nicoletto's engravings and a 
group of his drawings divided between the British and the Victoria and Albert Museums. 
His art contributed to the establishment of High Renaissance ornament design in Venice. 



3 Unknown Florentine Artist (about 1540-1550) 

DESIGN FOR A FOUNTAIN 

Black chalk. 17 x lo^iein. (432 x 275 mm.) 
Coll.: Sir Joshua Reynolds 

An inscription, possibly 17th-century, gives an overly ambitious attribution for this draw- 
ing to Baccio Bandinelli (1493-1560). The curious complexity of the design suggests that 
it might have been intended for a temporary, possibly indoor, structure. 



4 Francesco Salviati (1510-1563) 

STUDY FOR THE 'ALLEGORY IN HONOR OF RANUCCIO FARNESE' 

Pen and ink with bistre wash and white heightening. 854 x io%in.(2o6 x 260 mm.) 

Coll.: Piancastelli 
The fresco itself, in the Palazzo Farnese, Rome, was completed by Taddeo Zuccaro, about 
1553, after Salviati's designs. The allegory shows the founding member of the family 
receiving the banner of the Church from Pope Eugenius IV. This working drawing, that 
includes overlays by Salviati, is quite different from the composition as completed. Other 
drawings for the scheme are at Windsor Castle. 



5 Unknown Artist (possibly North Italian) (active about 1 550) 
DESIGN FOR A TABLE DECORATION 

Pen and ink with bistre wash. 14 x 1 1 1 ^ in. (356 x 304 mm.) 
Coll.: Mariette; van Suchtelen; Decloux 

Considered the most important single item of table furniture, the salt for centuries was 
featured in elaborate form. Sometimes it was set off architecturally, as is indicated here, 
by columns joined by twisted ribbons. 

6 Girolamo da Carpi (1501—1556) 
SKETCHES OF CLASSICAL SCULPTURE 

Pen and brown ink. 10% x 7% in. (257 x 187 mm.) 
Coll.: P. Huart; Hugh Cassel 

Strongly influenced by classical antiquity during his sojourn in Rome in the early 1550's, 
da Carpi filled a number of sketchbooks with drawings of sculpture and grotteschi. This 
sheet, drawn on both sides, probably comes from one of these books, some of which were 
dismembered in the 18th century. 

7 Francesco da Sangallo (1494-1576), Attributed to 
DESIGN FOR THE TOMR OF A MEDICI CARDINAL 

Pen and brown ink with brown wash. 1 ljii x 7^6 in. (294 x 192 mm.) 
Coll.: Piancastelli 

Son of the famous Florentine architect, Girolamo da Sangallo, Francesco executed tombs 
and other sculpture for the Medici family in Florence, Rome and Monte Cassino Abbey. 
Perhaps this design was intended for the tomb of the ill-fated Cardinal Giovanni de' Medici 
(died 1562). 



8 Bernardo Sozi (or Sotij) di Vincenzo (active 1573-1603) 

PROPOSED ADDITIONS TO A CENTRAL PLAN CHURCH 

Black chalk, pen and ink with bistre wash. 13% x 10% in. (353 x 267 mm.) 
Coll.: Piancastelli; Brandegee 

Designs by provincial Italian 16th-century architects are rare. Sozi seems to have worked 
exclusively in Perugia, and he undoubtedly knew Bramante's work in that region. This 
scheme, of 1573, might relate to additions proposed but never carried out for the octagonal 
Romanesque church of S. Ercolano, at Perugia. 



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9 Unknown Florentine Artist (active about 1575) 

DESIGNS FOR SALT CELLARS 

Pen and ink with bistre wash (mounted). A: 2 1 ^6 x 5% in. (071 x 130 mm.); 

B: 2% x 5% in. (073 x 139 mm.) (mount) 

Coll.: J. Richardson; Earl Spencer; Destailleur; Decloux 

These designs are by a silversmith contemporary with Benvenuto Cellini (1500—1570), 
who, like him, had a taste and ability to handle bizarre and fantastic forms to meet the 
vogue of the day. 

7 



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Catalogue Number 10 



10 Antonio Gentili (1551/2-1609) 

SKETCH FOR THE BASE OF THE SILVER CRUCIFIX FOR THE HIGH 
ALTAR OF ST. PETER'S, ROME 



Pencil, pen and ink with bistre wash. 19% 
Coll.: Piancastelli; Brandegee 



13 in. (492 x 330 mm.) 



Following a scheme originally set by Michelangelo, Gentili carried to completion the work 
commissioned by Cardinal Alessandro Farnese in 1578, even adapting his design to accom- 
modate the existing figures of slaves. The finished object (now in the Treasury of St. Peter's) 
was put in place in 1582. 

Bibl.: R. Berliner, in The Art Bulletin, 1951, pp. 51-52; C.U.M. Chronicle, Vol. II, 
No. 4, 1952, p. [97]; C.U.M. Illustrated Survey, 1957, p. 16. 



11 Monogrammist FAS (active about 1558-1620) 

DESIGNS FOR ENGRAVED GUN PLATES 

Black chalk, pen and ink with grey and yellow watercolors (mounted). 8 ] / 8 x 10% 
in. (206 x 260 mm.) (mount) 
Coll.: Piancastelli; Brandegee 

Elaborately-engraved gun plates were extensively used on firearms during the 16th and 
17th centuries. The two great centres of gun production in Italy were Brescia, in the North, 
and Naples, in the South. To judge from their stylistic qualities, these designs were prob- 
ably intended for Brescian pieces. 





Catalogue Number 12 

12 Domenico Passignano (1560-1638), Attributed to 

NUDE CHILD SUPPORTING AN ESCUTCHEON 

Red chalk, pen and bistre ink with grey wash. 6% x 8 7 /n in. (162 x 214 mm.) 
Coll.: Piancastelli; Brandegee 

Passignano was employed both in his native Florence and in Rome by the Medici; he was 
also active as a decorative painter in Venice and elsewhere in Northern Italy. This lively 
and deftly executed sketch suggests a detail for a decorative scheme. 

13 Remigio Cantagallina (active 1582-1635) 

FANTASTIC LANDSCAPE WITH SCENES FROM THE OLD AND NEW 

TESTAMENTS 

Pencil, pen and ink with bistre wash (mounted). 12% x 16% in. (312 x 425 mm.) 

(drawing) 

Coll.: Piancastelli 

Incorporated into this curious composition, possibly taken from an apocalyptic vision by 
one of the writers of the Early Church, are Mount Sinai, Jerusalem, Nazareth and Beth- 
lehem. Cantagallina worked in close association with Stefano della Bella and Giulio Parigi, 
designing settings for theatrical performances given by the Medici in Florence. 



14 Lucio Massari (1569-1633) 

DESIGN FOR A CEILING PAINTING 

Black chalk, pen and ink with watercolors and white heightening. 10 x g lb /n in. 

(254 x 252 mm.) 

Coll.: Nahl; Hewitt 

A popular decorator of palaces in Bologna during the early 17th century, Massari went to 
Rome in the train of the Carracci to work in the Palazzo Farnese. The ceiling for which this 
drawing is the study has not been identified, but it probably antedates Massari's trip to 
Rome, about 1609. 



15 Unknown Italian or French Artist (early 17th century) 
ACANTHUS RINCEAUX WITH ANIMALS AND BIRDS 

Pencil, pen and ink with brown wash and white heightening. 1 1 % x 13K6 in. 
(282 x 351 mm.) 
Coll.: Decloux 

It is extremely difficult to place the exact origin of such an ornamental design as this. 
Its rich foliage and introduction of living creatures would suggest the design to be for carved 
woodwork, and if so, is admirably conceived. 

16 Guido Reni (1575-1642) 
STUDY OF A NUDE YOUTH 

Black crayon with white heightening on grey-brown paper. \QYu x g'^6 in. (420 

x 252 mm.) 

Coll.: Piancastelli; Brandegee 

Evidently a study either for the Samson (Bologna), dated about 1610, or the Rape of 
Dejanira (Louvre), dated 1610—1621, or for both paintings, Reni seems to have employed 
the same model on a number of other occasions. The artist's particular concern here was in 
the rendering of highlights on the human form by means of white chalk. 
Bibl.: M. Jaffe, in Paragone, 1954, pp. 5—6. 

17 Giulio Parigi (about 1570-1625), Attributed to 
DESIGN FOR A MEDICI FUNERAL CELEBRATION 

Red chalk. 8% x 7% in. (216 x 190 mm.) 
Coll.: Piancastelli; Brandegee 

Parigi designed a number of Medici funeral ceremonies, habitually held in San Lorenzo, 
Florence. This drawing might relate to that honoring Cosimo II de' Medici (died 1621). 
The church represented, not San Lorenzo, might be another in Florence or the vicinity. 
State funerals were public occasions surrounded by a degree of pomp and ceremony seldom 
duplicated in our own day. 

18 Andrea Sacchi (1599-1661) 

STUDY FOR A CEILING DECORATION FOR THE PALAZZO BARBERINI, 

'DIVINE WISDOM' 

Black and red chalks, pen and ink with bistre wash and white heightening. 1254 x 

13% in. (312 x 333 mm.) 

Coll.: Piancastelli 

The subject of this fresco in the Palazzo Barberini, Rome (of about 1629—1633), is taken 
from the Wisdom of Solomon (vi:22). By his classical simplicity. Sacchi is recognized as the 
Italian counterpart of Poussin, and with Pietro da Cortona and Baciccio, was one of Rome's 
leading painters. Drawings by him for important commissions are rare. 

19 Giuseppe Cesari (called Cavaliere d'Arpino) (1568—1640) 
SKETCHES FOR A 'FLAGELLATION OF CHRIST' 

Red and black chalks. 'f^iz x 6% in. (202 x 155 mm.) 
Coll.: Piancastelli; Brandegee 

Cesari is considered the last of the Mannerists. Certainly this sheet of sketches signals the 
Baroque, though embodied in it, as well, is the classical tradition of Michelangelo and 
Raphael. 

Bibl.: C. de Tolnay, History- and Technique of Old Master Drawings, 1945, No. 96; 
H. Tietze, European Master Drawings in the United States, 1947, No. 48. 

20 Giovanni Francesco Barbieri (called Guercino) (1591-1666) 

STUDY OF FOUR FIGURES 

Pen and bistre ink with bistre wash. 8 x ioy 2 in. (203 x 267 mm.) 
Coll.: Peoli; Hewitt 



In his drawings Guercino renders the complicated calligraphic line with crystalline clear- 
ness, and by means of the washes molds the shapes as well as the chiaroscuro in a manner 
similar to that employed by Tiepolo in the next century. Many of his drawings, in the ab- 
sence of close relationship to his paintings, present subjects that are not easily identified. 



21 Giovanni Benedetto Castiglione (about 1600-1665) 

CARAVAN AT REST NEAR A HERM 

Pen and bistre ink with bistre wash. 16% x io 7 / 8 in. (416 x 276 mm.) 

Coll.: Piancastelli; Brandegee 
The correct interpretation of Castiglione's drawings is not always clear, as in this example. 
The pictorialism and marked freedom in delineation of this drawing suggest that it was 
done in Rome, shortly after 1640, when the artist fell strongly under Poussin's influence. 



22 Unknown Mantuan Artist (mid- 17th century) 

STAGE DESIGN: COURTYARD OF A PALACE 

Pencil, red chalk, pen and bistre ink. 13 x I7 1 fi6 in. (550 x 456 mm.) 

Coll.: Piancastelli; Brandegee 
The arms of the Duchy of Mantua establish the place of origin of this set, generally a diffi- 
cult task, as set designers were bound by rules to follow established patterns of design. 
This spectacle shows some classical theme, for in the clouds are the figures of Athena and 
Apollo. Red chalk for the mise-en-scene is an interesting vehicle by which it is set off from 
the proscenium. 

Bibl.: C.U.M. Chronicle, Vol. I, No. 8, 1941, p. [284]; J.Scholz, Baroque and Roman- 
tic Stage Design, 1950, No. 19. 



23 Unknown Roman Artist (active about 1660-1670) 

DESIGN FOR A LOGGIA 

Pencil, pen and. bistre ink with bistre wash. 13% x io'Ks in. (350 x 278 mm.) 

Coll.: Piancastelli; Brandegee 
The form of the loggia is similar to that constructed across the narrow end of the Palazzo 
Borghese, in Rome, after the design of Carlo Rainaldi (161 1-1691). This drawing is prob- 
ably not by Rainaldi, however, but by a contemporary architect undoubtedly familiar 
with his work. 



24 Marco Antonio Franceschini (1648-1729) 

SCENE FROM THE LIFE OF ST. CATERINA VIGRI 
Black chalk, pen and ink with bistre wash. 8'/ 4 x lo'Me in. (210 x 278 mm.) 
Coll.: Piancastelli; Brandegee 
This design, one of several in the Cooper Union Museum's collection for the monochrome 
decorations of the church of Corpus Domini, in Bologna, dates from 1687 to 1694. One 
episode in the life of this saint, patroness of the city of Bologna, was that she suddenly 
took to playing the violin, which she had never before touched; the miniature instrument 
shown in this drawing is preserved today in her church. 



25 Carlo Antonio Buffagnotti (about 1660-about 1710) 

A FANTASTIC GARDEN 

Pencil, pen and brown ink. i3 7 / 8 x io}{ ( in. (355 x 255 mm.) 

Coll.: Piancastelli; Brandegee 
Buffagnotti combines in his drawings the theatricality of Ferdinando Bibiena, whose pupil 
he was, with the precise linear quality of Stefano della Bella. The inscription on this draw- 
ing suggests it to be a view, perhaps somewhat idealized, of the artist's own garden. 




Catalogue Number 28 

26 Filippo Juvarra (1678-1736) 

DESIGN FOR THE INTERIOR DECORATION OF A CHURCH DOME 
Pencil, pen and ink with bistre wash. 6% x 7^6 in. (165 x 186 mm.) 
Coll.: M. Mayr; Janos Scholz 
This drawing may relate to any one of a number of Juvarra's designs for churches. Un- 
doubtedly Italy's greatest 18th-century architect, Juvarra had the great opportunity of 
carrying to completion many of his grandiose building schemes commissioned by the King 
of Sardinia. This design may antedate his appointment as Royal Architect in 1714. 



27 Francesco Fontebasso (1709-1768/9) 

ALLEGORY OF 'SCULPTURE' 

Black and red chalks. 7% x 8 7 / 8 in. (181 x 225 mm.) 

Coll.: Hewitt 
This drawing, perhaps the study for a projected engraving, shows close affinities to Fonte- 
basso's cupola decorations in the church of the Annunziata, at Trento, dated 1736-1737. 
In these works the artist was strongly influenced by Tiepolo's figural types. 

28 Giovanni Battista Tiepolo (1696-1770) 

THE ANNUNCIATION 

Black chalk, pen and bistre ink with bistre wash. 1614 x 11% in. (413 x 288 mm.) 

Coll.: Marmontel; Hewitt 
The heavy forms and manipulation of the washes that produce a strong chiaroscuro suggest 
a date for this drawing about mid-point in the artist's career. It appears not to be a study 
for any known painting or etching. 



Bibl.: O. Benesch, Venetian Drawings of the Eighteenth Century in America, ~*§£7, 
No. 17; H. Tietze, European Master Drawings in the United States, 1947, No. 88; C.U.M. 
Illustrated Survey, 1957, p. 27. 

29 Giovanni Battista Tiepolo (1696-1770) 

DESIGN FOB A DEDICATION PAGE TO CHABLES III, KING OF NAPLES 
Black chalk, pen and bistre ink with bistre wash (mounted). 14^16 x g l f{s in. (356 x 
250 mm.) (drawing) 
Coll.: Hewitt 

This dedication page (engraved in Venice by Volpato) is for a book on the ruins of Paestum, 
commissioned by the King and published in Bassano in 1770. The inscription, in Spanish, 
suggests that the drawing was done during Tiepolo's sojourn in Spain (1762—1770). 

30 Francesco Guardi (1712-1793) 

DECOBATIVE CABTOUCHE WITH A LANDSCAPE 

Black chalk, pen and ink with watercolors and white heightening. 16% x 27% in. 

(419 x 689 mm.) 

Coll. : Earl of Warwick; Baimundo de Madrazo; Hewitt 

Possibly a study for a detail of a painted ceiling cove, Guardi made a number of similar 
sketches, though of smaller size (Museo Correr, Venice). The right portion is a skillful 
completion of the composition by another hand on an additional sheet of paper. 

Bibl.: C.U.M. Chronicle, Vol. I, No. 5, p. 198; O. Benesch, Venetian Drawings of 
the Eighteenth Century- in America, 1947, No. 62; B. Berliner, in The Art Bulletin, 1951, 
PP- 53-55- 

31 Carlo Marchionni (1702-1786) 

DESIGN FOB A CATAFALQUE HONOBING CHABLES EMANUEL III. 
KING OF SABDINIA 

Pencil, pen and bistre ink with sepia wash, lg^is x 13 in. (500 x 330 mm.) 
Coll.: Piancastelli 

Probably erected in Borne in honor of the Savoyard monarch, who died in 1773, 
this elaborate temporary structure was devised by one of the most able Roman architects 
of the day. Carlo, and his brother, Filippo Marchionni, received many commissions from 
the powerful Albani family of which this might have been one. 

32 Nicola Fiore (active 1775) 

DESIGN FOR A WALL DECORATION OF THE BOYAL PALACE AT 
CASERTA 

Pen and ink with watercolors. 241/2 x 21 '/ 2 in. (623 x 546 mm.) 
Coll.: Piancastelli; Brandegee 

Begun by Charles III, King of Naples, in 1752, the palace was ready for Royal occupancy 
by 1769. The decoration for which this drawing is the study must have been among the 
last works carried out as originally planned by Charles's successor, Ferdinand I. By its date 
this drawing is documentary evidence that the Chinese style must still have been in vogue 
in Italy as late as 1775. 

"Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 104. 

33 Felice Giani (about 1760—1823) 

DESIGN FOB A PAINTED WALL DECOBATION 

Pen and bistre ink with watercolors. 20*16 x 11% in. (513 x 295 mm.) 
Coll.: Piancastelli 

Giani's most important private undertakings were the decorations of the Palazzo Altieri. 
in Borne, and of palaces in Forli and in his native Faenza. He is chiefly noted for his enor- 
mous output of ornamental and figure drawings in the strongly neo-classic vein that by 
his time was common property in Europe. 

Bibl.: E. Modigliani, in L'Arte, 1900, pp. 20-21. 




Catalogue Number 3 6 

34 Domenico Mondo (died 1806) 
AN AUDIENCE SCENE 

Pencil and brown wash. 4^6 x 6?^6 in. (110 x 157 mm.) 

Coll.: Piancastelli; Brandegee 
One of the forgotten minor painters of the late 18th century in Naples, Mondo, like Bison 
in Venice, forms the link between the Baroque and the Bomantic. His major decorative 
work was for the Boyal Palace at Caserta. 

35 Giuseppe Yaladier (1762—1839) 
DESIGNS FOR CITY PLANNING 

Pen and ink with bistre wash. A: 7% x 11 in. (200 x 280 mm.); B: 8 x 11 in. 

(203 x 280 mm.) 

Coll.: Piancastelli; Brandegee 
Chiefly noted for his resourceful revision of Rome's streets and squares, Yaladier was, as 
well, a designer of interior decoration, furniture, metalwork and ecclesiastical ornamen- 
tation. The immediacy of effect and quick mastery of the medium in producing this effect 
give to Valadier's work a Tiepolo-like sparkle. 

36 Angelo Toselli (active 1780-1840) 

STAGE DESIGN: A VAULTED CHAMBER 

Pen and bistre ink with sepia wash. 9% x 14 in. (248 x 355 mm.) 

Coll.: Piancastelli; Brandegee 
Toselli, whose work represents a transition from the Baroque to the Romantic in stage- 
design in Bologna, was strongly influenced by Piranesi's Prisons series of etchings. The 
play of brilliant sunlight on the architecture, together with clarity and grandeur in the 
forms, are characteristics seen in all of Toselli's works. 



37 Giuseppe Bernardo Bison (1762—1844) 

DESIGN FOB A WALL DECOBATION 

Pencil, pen and ink with watercolors. n'/. x 8% in. (292 x 216 mm.) 

Coll.: Piancastelli; Brandegee 
Bison brings to a close the Venetian 18th-century manner of Guardi and Canaletto, and 
heralds the Romantic movement. His preferred norm was the Gothic Revival style, ren- 
dered in sparkling colors that reflect the Adriatic sunshine. 

T 4 



38 Antonio Basoli (1774—1848) 

STAGE DESIGN: INTERIOR OF A ROOM 
Pen and ink with watercolors. 18% x 25?'i6in. (476 x 649 mm.) 
This design, a setting for a performance given in Marseilles about 1810. was published by 
the artist in one of his collections. Basoli's publications show his great range of inventive- 
ness and his interest in pictorial effects possible in stage design. Brilliantly colored sets 
were made possible by the development, early in the 19th century, of artificial lighting 
techniques. 

39 Filippo Agricola (1776-1854), Attributed to 
THE VIRGIN AND CHILD 

Pen and brown ink with brown wash. 10% x 8 in. (274 x 203 mm.) 

Coll.: Piancastelli; Brandegee 
Midway in his career Agricola suffered a mental collapse, after which he produced a quan- 
tity of strangely cubistic drawings that seem to reflect the manner of his predecessor, Cam- 
biaso, yet anticipate by nearly a century the art of Braque and Picasso. 

FRANCE 

40 Jacques Androuet Du Cerceau, the Elder (1510/12—1585) 
PERSPECTIVE RENDERING OF THE CHATEAU DE VERNEUIL 

Pen and ink with ink and blue washes. 16% x 21% in. (429 x 549 mm.) 
Coll.: Destailleur; Decloux 

The building of Verneuil (on the river Oise), begun about 1565 and finished about 1600, 
was considered by Du Cerceau his most important private undertaking. This masterful 
drawing, with slight changes, served as a plate in his work, Les Plus excellents hastiments 
de France (1576). • 

Bibl.: H. de Geymiiller, Les Du Cerceau, 1887, pp. 82-88; C.U.M. Chronicle, Vol. I, 
No. 3, 1937, p. 86; C.U.M. Illustrated Survey, 1957, p. 18. 




Catalogue Number 40 



!5 



41 Leonard Chailleat (also called Chaillat de Souplesse, or Sciaja) (active 1640-1650) 
SKETCHES OF ALTAR RETABLES 

Pen and ink with brown wash. A: 6'/ 8 x 4 3 / 8 in. (155 x m mm.); B: 6% x 4 1 /* in. 

(159 x 108 mm.); C: 6% x 314 in. (162 x 089 mm.); D: 6% x 4% in. (175 x 114 

mm.); E: 6'/ 8 x 3% in. (155 x 092 mm.) 

Coll.: Piancastelli 
A Frenchman by birth, Chailleat went to Perugia to live about 1640. His drawings, most 
of which seem to come from dismembered sketchbooks, are marked by a calligraphic 
quality and concern for detail. 

42 Pierre Puget (1622-1694) 

DESIGN FOR A ROYAL FRENCH GALLEY, SEEN FROM THE STERN 

Pen and ink with grey wash on vellum. 15 x 13% in. (381 x 343 mm.) 

Coll.: Decloux 
Since he was personally disliked by Colbert, Puget was more active in designing the dec- 
orations for Louis XVI's all-powerful fleet than in providing marble sculpture for the 
King's gardens. He devoted the major portion of his life to such vanished glories as he 
here designed for the stern of a royal galley; this example probably dates about 1 668-1 66g. 
Puget was obliged always to submit his drawings (usually on vellum) to Colbert for final 
approval. 

Bib].: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 102. 

43 Antoine Watteau (1684—1721), Attributed to 

DESIGN FOR A DECORATIVE PANEL, TESTE BACCHIQUE' 

Pencil, red chalk and white heightening on brown paper (squared off for transfer). 

24 3 / 8 x i4 3 / 8 in. (619 x 365 mm.) 

Coll.: Destailleur; Decloux 

This design might be a sketch for a painted panel, one of a set of four, said by Mariette to 
have been commissioned by M. Chauvelin, Keeper of the Seals. These panels were en- 
graved by J. Moyreau. From 1704 to 1709 Watteau devised similar decorations for the 
houses of his teachers, Gillot and Claude Audran. 

44 Gilles-Marie Oppenort (1672-1742) 
DESIGN FOR A WALL ALTAR RETABLE 

Pen and ink. 16% x 8% in. (419 x 2ig mm.) 

Coll.: Destailleur; Decloux 
Of the five altars designed by Oppenort, this drawing most closely resembles that for 
St. Germain-des-Pres (1704), a free-standing structure that no longer exists. In these 
works Oppenort was inspired by Bernini's similar Paris commissions. 

45 Gilles-Marie Oppenort (1672—1742) 

PRELIMINARY DESIGN FOR THE SALON D'ANGLE OF THE PALAIS 
ROYAL, PARIS 

Pencil, pen and ink with watercolors. 22% x 16% in. (578 x 428 mm.) 
Coll.: Decloux 

Of this work, that dates about 1715, Kimball says, "Limited as it was by structural con- 
siderations, the form of the salon . . . embodies a new and exceptional treatment of spatial 
form, more fluid than anything attempted in France either before or after . . ." The room 
has long since been destroyed.. 

Bibl.: F. Kimball, The Creation of the Rococo, 1943, p. 121; L. Hautecoeur, His- 
toire de I' Architecture classique en France, Vol. Ill, 1950, p. 7. 

46 Jean-Bernard-Honore Turreau (called Toro) (1672—1731) 

DESIGN FOR A FRONTISPIECE: 'VENUS, ACCOMPANIED BY CUPID, 
CALLS FOR THE WEAPONS OF AENEAS AT THE FORGE OF VULCAN' 

Pencil, pen and ink with ink wash. 18 x \z 3 /u in. (457 x 310 mm.) 
Coll.: Decloux 

l6 



Although Toro designed a number of similar frontispieces for his various suites of orna- 
ment, no engraving is known to have been taken from this particular example. Toro's 
drawings and engravings reveal a high degree of finesse in ornamental design. 



47 Francois Verdier (1651-1730) 

THE FAMILY OF DARIUS BEFORE ALEXANDER 

Pen and irlk with brown wash and white heightening on brown paper. 10% x 14% 
in. (264 x 565 mm.) 
Coll.: Hewitt 

Verdier had aspirations to be a historical painter, but his antiquated style found little 
favor with 18th-century French taste then developing, and he was obliged to sell his 
drawings on the street-corners of Paris. As a consequence, he was extremely prolific, and 
a quantity of his drawings have survived to this day. 



48 Henri Antoine de Favanne (1668-1752) 
MAENADS AND A SATYR 

Charcoal and grey wash. 9^6 x 14% in. (240 x 375 mm.) 
Coll.: Peoli; Hewitt 

Born in London, but trained in Paris under Le Brun to paint allegories that fitted into 
room decorations, de Favanne was called to Spain in 1701 to work for Philip V. Only one 
other signed drawing by him is known (Louvre). 

49 Gabriel Huquier (1695-1772), Attributed to 
'DIVINITE CHINOIS' 

Black chalk and grey wash. 10% x 15 in. (260 x 381 mm.) 
Coll.: Decloux 

This drawing is One of a series by Huquier after Watteau, published about 1729 or 1730. 

50 little is known about Huquier's manner of drawing that an attribution to him must be 
only tentative. The creator of this drawing was obviously a sensitive draftsman, though 
not of the genius of Watteau. 

Bibl.: E. Dacier and A. Vuaflart, Jean de Jullienne et les Graveurs de Watteau . . . , 
1929, Vol. Ill, p. 68. 

50 Hubert Francois Bourguignon (called Gravelot) (1699—1773) 

DESIGN FOR THE FRAME SURROUNDING THE PORTRAIT OF SIR 
FRANCIS 1 WALSINGHAM 

Pen and ink with grey wash. 14% x g}{ s in. (375 x 232 mm.) 
Coll.: Destailleur; Decloux 

The engraving fdr which this design was intended was published in Birch's The Heads of 
illustrious persons of Great Brittain . . . , London, 1745. This was but one of an enormous 
number of works done by Gravelot during his thirteen-year sojourn in England. The 
drawing is dated 1738. 

51 Jean-Baptiste Oudry (1686-1755) 
STILL LIFE WITH FISH AND PARROT 

Black and white chalks on blue paper (faded green). 12% x lS'Msin. (308 x 402mm.) 
Coll.: Andreossy; de Goncourt; Beurdeley; Dreifuss; Hewitt 

Possessing remarkable dexterity both in draftsmanship and in the arrangement of still-life 
compositions, Oudry was in continual demand by the Royal tapestry works at Beauvais. 
He probably had some decorative work in mind when composing this drawing in 1740. 
Bibl.: J. Locquin, Catalogue Raisonne de VOeuvre de Jean-Baptiste Oudry. 1912, 
p. 109, No. 573; C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 105. . 

*7 



52 Charles Huttin (1715—1776), Probably 

DESIGN FOR THE MAIN PORTAL OF THE TEMPLE OF HYMEN, 
ERECTED IN THE PLACE DAUPHIN, PARIS, IN CELEBRATION OF 
THE FIRST MARRIAGE OF THE DAUPHIN 

Black chalk, pen and ink with water-colors. 17^6 x I2 13/ i6 in. (456 x 325 mm.) 
Coll.: Decloux 

This portal gave entrance to an elaborately decorated pavilion in which refreshments were 
served. There were thirteen structures set up in Paris for this festival, which took place 
February 23—26, 1745, and which, like many such royal fetes, was duly commemorated 
in a handsome book of engraved plates. 

53 Germain Boffrand (1667-1754) 

DESIGN FOR THE WALL ELEVATION OF THE BEDROOM OF THE 
PRINCE DE ROHAN, IN THE HOTEL SOUBISE, PARIS 
Pencil, pen and ink with watercolors. 11% x 20% in. (289 x 524 mm.) 
Coll.: Lechener; Decloux 
Boffrand undertook this work in 1735—1736; it was his last important commission. In the 
belief that this drawing was prepared merely for the engraver of Boffrand's L,ivre d : Archi- 
tecture (pi. LXI), published when Boffrand was seventy-eight years old, Kimball suggests 
that it was the work of a younger assistant; but the casting of a second set of shadows in 
the direction required for the engraved plate indicates that the drawing had been executed 
at an earlier date. 

Bibl.: F. Kimball, The Creation of the Rococo, 1943, pp. 178—179. 

54 Edme Bouchardon (1698-1762) 
STUDY OF A CHILD'S HEAD 

Red chalk. 8% x 10% in. (222 x 273 mm.) 

Coll.: de Bizemont Puonele; Peoli; Hewitt 
Bouchardon is particularly noted for his sculpture of children. By his interpretation of 
the subject, his work is the equivalent in sculpture of that of Boucher in painting. 



*~ ftinc. ovale Jl qza/idcutx \ 











■"SSW it 



"i « 




Catalogue Number J( 



l8 



55 Jacques de Lajoue (1686-1761) 

DESIGN FOR AN ORNAMENTAL DECORATION 

Pen and ink with ink wash. 7 x 18^6 in. (178 x 465 mm.) 
Coll.: Decloux 

Lajoue is considered one of the progenitors of the Rococo style in France. The rather flat 
character of this design suggests that it might have been intended for an engraved or 
simple repousse decoration on a silver box top. 

56 Unknown Artist (active about 1750—1760) 
DESIGN FOR A TUREEN AND UNDER-PLATE 

Pencil and opaque watercolors. 20% x I3?'i6in. (524 x 346 mm.) 
Coll.: Piancastelli; Brandegee 

This design, done for the Sevres porcelain factory, shows the great care that went into the 
creation of such pieces. The precise object for which this design was intended has not 
been discovered, though in the Cooper Union Museum's collection are similar designs that 
are related to known pieces. 

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. [110]. 



57 Francois Boucher (1703—1770) 
HEAD OF AN ORIENTAL, 

Black and red chalks (mounted). i3 7 /s x lo'^in. (352 x 275 mm.) (drawing) 
Coll.: Glomy; Peoli; Hewitt 

Boucher made a number of such drawings, some that were engraved in the newly-invented 
crayon manner, while others were framed as decoration. Jean-Baptiste Glomy, Boucher's 
frame-maker, prepared the mount for this drawing. No engraving of it seems to exist. 

58 Giovanni Niccolo Servandoni (1695-1766) 
A RUIN FANTASY 

Charcoal and black wash. 13% x 8% in. (342 x 223 mm.) 
Coll.: Decloux 

A Florentine by birth, Servandoni became a thorough Francophile through his extended 
activity as a designer of court festivals in Paris. The attribution of this drawing to him is 
based on a like example, signed and dated 1762, in the National Library at Rio de Janeiro. 

59 Jean-Charles Delafosse (1763-1789) 

DESIGN FOR A DECORATIVE EWER 

Pen and ink with ink wash . g ! / 2 x 5% in. (241 x 405 mm.) 
Coll.: Decloux 

Delafosse made many such designs for wholly improbable pieces of furniture, published 
in his studies of ornament that served as inspiration for other decorators, who derived from 
his flashing genius the lesser portions that met their own needs. 

60 Jean-Charles Delafosse (1734-1789) 
A MASQUERADE 

Pen and ink with watercolors. 12% x 15% in. (307 x 400 mm.) 
Coll.: Decloux 

During the 1760's and 1770's a number of public pleasure palaces were built in Paris, 
none of which long survived the cost of upkeep and the fickleness of the public favor. 
Delafosse's view may show the Colisee, erected in the Champs-Elysees in 1769, but de- 
molished prior to the Revolution. 

19 




Catalogue Number 6j 



61 Unknown Artist (active about 1770) 

DESIGN FOR THE DECORATION FOR A ROYAL FRENCH BALL 

Pencil, pen and ink with watercolors. I2y 2 x 22^6 in. (318 x 583 mm.) 
Coll.: Decloux 

Marie-Antoinette was married to the Dauphin, the future Louis XVI, in May, 1770, and 
during the following three years a great number of balls were given in their honor. This 
particular decoration may have been for one given in the Grand Trianon, often used for 
such purposes, though Mademoiselle Marguerite Jallut, Conservateur du Musee de Ver- 
sailles, declares this drawing must date from 1780 to 1785 at the time when the Queen 
was having wooden pleasure houses run up for entertainments. 



62 Henri Salembier (1753-1820) 

DESIGN FOR A CEILING DECORATION 

Pen and ink with grey wash, g 1 ^ x 16% in. (252 x 425 mm.) 
Coll.: Decloux 

Salembier's ornamental designs were a decided influence on the formation of the Louis XVI 
style. His distinctive vocabulary consisted chiefly of acanthus leaves and tendrils, with an 
occasional human figure. The subject here may represent Minerva and four Virtues. 



63 Francois-Joseph Belanger (1744—1818) 

WALL SCONCE AND TWO ANDIRONS FOR THE CHATEAU DE 
BAGATELLE, PARIS 



Pen and ink with yellow and blue watercolors. ?}{ 
Coll.: Decloux 



x 1 1^6 in. (180 x 287 mm.) 



In 1777 the comte d'Artois had Bagatelle completely rebuilt by Belanger, work carried out 
in sixty-four days in order to win his bet with Marie-Antoinette, his sister-in-law. The, 
monogram "M A" is a tribute to her; Artois had it repeated many times over in the dec- 
oration of this little pleasure-palace. 

Bibl.: C.U.M. Chronicle, Vol. I, No. 4, 1952, p. 112. 

20 



64 



. . . Mar^chal (active 1780) 



WINDOW WALL WITH TAPESTRY FOR THE HOTEL OF BARON 

CRAON 

Pencil, pen and ink with watercolors. 15% x 20% in. (400 x 524 mm.) 

Coll.: Pichon; Decloux 
This project might relate to later decoration of the Hotel Beauveau-Craon (today the 
Palace of Justice) in Nancy, capitol of Lorraine, built earlier in the century by the archi- 
tect, Boffrand. Marechal's name appears on a number of designs for interiors, although 
nothing specific is known about his activity. 

65 Richard de Lalonde (active about 1780-1796) 

TWO DESIGNS FOR GILT BRONZE KEY PLATES 

Pen and ink with ink wash. 6y 2 x 1 1 in. (165 x 280 mm.) 

Coll.: Decloux 
This drawing was published in Lalonde's XXl e Cahier (about 1780). The engravings 
seem to have served as inspiration for decorators who worked for Louis XVI and Marie- 
Antoinette. A bronze key plate, possibly made after these designs, is in the Cooper Union 
Museum's collections. 

Bibl.: C.U.M. Chronicle, Vol. II, No. 2, 1950, p. 42. 



mm.) 



66 Jean-Baptiste Pillement (1728-1808) 
CHINOISERIE FANTASY 

Pencil (leaf from a sketchbook). 7 7 / 8 x 11% in. (200 x 2E 
Coll.: Hewitt 

Pillement's design in the style chinois supplied an inexhaustible source of fanciful ideas for 
the patterning of textiles and wallpapers, the illustrating of books, and all kinds of other 
decoration. He and his English wife, Anne Allen, etched many of his designs in delicate 
colors. This fantasy is obviously inspired by the contemporary fad for aeronautics. 
Bibl.: M. Benisovich, in Gazette des Beaux-Arts, 1952, p. 124. 

67 Pierre Ranson (1736-1786) 

SIX TROPHIES WITH THE ATTRIBUTES OF GARDENING 

Pencil, pen and ink with opaque watercolors. 10% x 8 in. (270 x 204 mm.) 

Coll.: Decloux 
Ranson's chief efforts were in devising ornamental motifs, to be engraved, and thus in- 
spired less talented decorators. This sheet of designs was published about 1780 in his Premier 
Cahier de Trophies . . . , pi. 4. 




Catalogue Number 



68 Mademoiselle Montalon (active about 1785) 

DESIGNS FOR EMBROIDERED WAISTCOATS 

Pencil and opaque watercolors. A: 15% x 10% in. (345 x 260 mm.); B: 11% x 

7% in. (295 x 190 mm.) 

Coll.: Hewitt 
This designer, whose name only we know, worked for an establishment probably located 
in or near Lyons, known as the Fabrique de St. Ruf. These designs show the infinite 
pains that went into the successful creation of so temporary an article as clothing in the 
18th century. 

Bibl.: C.U.M. Chronicle, Vol. II, No. 8, 1956, p. [246], 247. 



69 Hubert Robert (1733-1808) 

A FOUNTAIN AND A STATUE IN A PARK 

Red chalk. 13 Me x 17% in. (341 x 438 mm.) 
Coll.: Hewitt 

In his interpretation of Rome's grandeur, Robert combines the lyrical qualities of Frago- 
nard with the archaeological exactitude of Panini, both of whom he knew intimately 
during his lengthy Italian sojourn (1754-1766). From its date (1788, written in the artist's 
hand on the verso), one can see that he, too, found it hard to forget Italy. 




Catalogue Number ji 



70 Charles de Wailly ( 1 729-1 798) 

SECOND PROJECT FOR THE PULPIT OF SAINT-SULPICE, PARIS 

Black chalk, pen and ink with watercolors. z&Yk, x 18% in. (678 x 473 mm.) 
Coll.: Berard; Decloux 

Gaillard has recently proved this design to be one of two ordered by the due d'Aiguillon 
in 1789. De Wailly's conception is bold and original, but the pulpit was not constructed 
according to this design, which no doubt was considered a bit too flamboyant for late 18th- 
century French taste. 

Bibl.: G. Gaillard, in Bulletin de la Societe de V Histoire de V Art Francais, 1958^.146. 



71 Jean Pierre Louis Laurent Houel (1735-1813) 

PROJECT FOR A PUBLIC MONUMENT 

Pencil, pen and ink with brown washes. 11% x 9 ha in. (285 x 230 mm.) 
Coll.: Decloux 

This perfectly delightful draftsman and engraver designed all kinds of projects from 
triumphal columns to illustrations for a book on elephants. In the engraving of about 1802, 
made from this drawing, Houel indicated that the monument had been proposed for erec- 
tion in a Paris square, where at this period of national elation it would surely have seemed 
at home. 



72 Constantin Guys (1805-1892) 

'LA PRESSE' 

Pen and ink with watercolors. 9 x 6% in. (229 x 168 mm.) 
Coll.: J.I. R.; Peoli; Hewitt 

For a time Guys worked as a magazine illustrator. This cartoon was published in the 
Illustrated London News, for April 1, 1848, with the caption: "This is a sketch from one 
of the Boulevards — a newsman — shouting Hernandez la Presse, one of the most popular 
organs of the new state of things in France ..." 

Bibl.: L. Goodrich, in The Arts, March, 1926, p. 124; C.U.M. Chronicle, Vol. I, 
No. 5, 1939, p. [169]. 



73 Constantin Guys (1805-1892) 

ON A SQUARE IN A SPANISH TOWN 

Pen and ink with watercolors. 10% x 7 1 ?'i6 in. (274 x 199 mm.) 
Coll.: Picot; Peoli; Hewitt 

One of the many drawings by Guys of Spanish subjects, this shows his apparent pleasure 
in representing the demi-monde and similar subjects that seem to have certain affinities 
to the art of Goya. 



74 Eugene-Samuel Grasset (1841—1917) 

DESIGN FOR A BELT-BUCKLE 

Pencil, opaque watercolors and white heightening on buff paper. 12^16 x 9% in. 
(325 x 248 mm.) 
Coll.: H. Vever 

Designed for a piece shown in the Paris Exposition of 1900, this example of Grasset's 
jewelry design shows one artist's interpretation of the style art-nouveau by the audacious 
combinations of closely harmonizing colors and a reversion to earlier artistic cultures as 
reflected by his choice of decorative elements. 

23 







Catalogue Number yj, B 

75 Hector Guimard (1867-1942) 

PERSPECTIVE RENDERINGS OF DESIGNS FOR VILLAS 

Pencil, pen and ink on tracing paper. A: ioy 2 x 9/ie in. (266 x 243 mm.); B: I2y 8 

x 12 in. (307 x 305 mm.) 

Coll.: Madame H. Guimard 
These designs (of about 1900-1904) for suburban villas are typical works of Guimard, 
under whom the style art-nouveau in France reached its full flowering. This architect 
also had all interior fittings carried out after his design, in order to achieve total unification 
of design. 

Bibl.: C.U.M. Chronicle, Vol. II, No. 6, 1954, p. 188. 

GERMANY, AUSTRIA AND SWITZERLAND 

76 Wenzel von Olmiitz (active 1481-1498), Attributed to 

DESIGN FOR A SILVER CENTREPIECE 

Pen and ink with yellow wash (mounted). i6y 2 x 9% in. (419 x 248 mm.) (mount) 
This object was ordered to commemorate the union of two important Augsburg families, 
the Pfister (circle and stars) and Herwarth (owl), in 1498. The drawing may have served 
for the engraver as well as for the goldsmith. Von Olmiitz's chief activity as a silversmith 
was in Nuremberg. 

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 97; C.U.M. Illustrated Survey, 
J 957. P- !5- 

77 Hans Kaspar Lang, the Elder (1571-1645) 

DESIGN FOR A STAINED GLASS WINDOW WITH THE SUBJECT OF 

'GRAMMAR' 

Pen and ink with bistre wash. 11% x 7% in. (295 x 188 mm.) 

Coll.: D. Veith; Schindler; Decloux 
Little is known about the work of this member of the Lang family, glass designers and 
painters active in Bern and Basel. Similar designs, with the same subject, attributed to the 
elder Lang, are in the Oeffentliche Kunstsammlung, Basel. This design is dated 1606. 



24 



78 Johann Paul Schor (1615-1674) 
DESIGNS FOR STATE COACHES 

Pen and ink with grey wash. 8% x 6% in. (223 x 168 mm.) (each) 

Schor's principal activity was in Rome (1648—1674), where he was associated with both 
Bernini and Pietro da Cortona. A number of state coaches were carried out after his designs. 
The figure in the right hand design has been lifted directly from Bernini's Truth Unveiled 
(completed in 1652). 

79 Paul Troger ( 1 698-1 762) 

BACCHANAL WITH PUTTI AND A HERM 

Pen and bistre ink. 12% x 7 1 jH[j in. (311 x 202 mm.) 
Coll.: Peoli; Hewitt 

Between 1716 and 1725 Troger spent much time in Italy, studying in particular the works 
of the Venetian painters. This drawing, dated about 1720—1725, comes from a sketchbook 
like many by Troger, and is distinguished by a preference for parallel strokes and rhythmi- 
cally curving lines. Troger's later drawings show greater freedom. 




Catalogue Number j6 



2 5 



80 Johann Gottfried Eichler, the Younger (1715-1770) 
DESIGN FOR A TITLE PAGE OR FRONTISPIECE 

Pen and ink with grey wash. 24% x 17% in. (625 x 454 mm.) 

Coll.: Peoli; Hewitt 
This design, dated 1742, is for either a title page of a book about Marie Theresa, or a frontis- 
piece of a book dedicated to the Empress. Eichler was active in Nuremberg and Augsburg, 
as well as in Vienna, and devised many such elaborate book decorations. 

81 Johann August Nahl, the Elder (1710-1785), Attributed to 
DESIGN FOR A FIREPLACE WALL ELEVATION 

Pencil, pen and ink with watercolor washes. 15% x 8% in. (597 x 219 mm.) 

Coll.: Decloux 
This drawing, formerly attributed to Cuvillies, shows strong affinities to Nahl's work in 
Potsdam, particularly to the library of Schloss Sanssouci, dated 1745. With Hoppenhaupt, 
he is considered one of the great native German ornamentists. 

82 Johann Wolfgang Baumgartner (1712-1761), Attributed to 
DESIGN FOR A DETAIL OF AN ENGRAVED DOCTOR'S THESIS 

Black chalk, pen and ink with ink washes on grey-blue paper. 13% x 11% in. 

(355 x 3 00 mm -) 

Coll.: Parsons and Sons; R. Berliner 

The Austrian, Baumgartner, worked many years for Augsburg publishing houses. Devis- 
ing elaborate decoration for theses became a principal occupation for many ornamental 
designers of the period in Germany. 

83 Johann Michael Hoppenhaupt, II (1709-about 1755) 
DESIGN FOR A CABRIOLET 

Pencil, pen and ink with watercolors. 15 x 20 in. (330 x 508 mm.) 

Coll.: Piancastelli; Brandegee 
It was the designs of Hoppenhaupt and his contemporary, Habermann, that created the 
uniquely German type of cabriolet, with umbrella. This became the most fashionable 
type of conveyance during the mid- 18th century in Germany, a fashion that was carried 
to Italy, but never took hold in France. 

84 Johann Esaias Nilson (1721-1788) 

DESIGNS FOR THE FRAMES OF THE PORTRAITS OF EMPEROR 
FRANZ I, AND EHRICH CHRISTOPH, BARON PLOTHO 

Pencil, pen and ink with grey wash (mounted). 12^6 x ioy 8 in. (329 x 258 mm.) 

(each mount) 

Coll.: Decloux 
Nilson made a prodigious number of etchings as book illustrations and ornamentations, 
but comparatively few of the drawings for them remain today. These delicately executed 
designs show Nikon's inventive ability in a Rococo style typically German. The etchings 
made from these designs were published in Augsburg in 1759. 

85 Joseph Sebastian Klauber (1700-1768), Johann Baptist Klauber (1712-1787), 
or Gottfried Bernhard Goetz (or Goz) (1708-1778); frames by Victor Duflot (died 
about 1920) 

DESIGNS FOR DEVOTIONAL PICTURES: 'TRANSGRESSIONS AGAINST 
THE HOLY SPIRIT' and 'CHRIST APPEARING TO SAINT IGNATIUS 
LOYOLA' 

Pencil, pen and ink with ink wash and white heightening. 7% x 5% in- (19° x 
144 mm.) (each; including frame) 

26 



The joint activity of the brothers Klauber and Goetz met the demand for small devotional 
pictures with complicated and obscure iconography, many of which were published in the 
Annus Sanctorum, in Augsburg, about 1770. It is impossible today to single out the indi- 
vidual styles of these artists. 

86 Christoph Heinrich Kniep (1755-1825) 

MELANCHOLY 

Pencil (mounted). 9% x 13% in. (248 x 550 mm.) (drawing) 

Coll.: Piancastelli; Brandegee 

By his meticulous drawings Kniep expresses the essence of German romanticism, as in- 
terpreted by Goethe, whom he accompanied to Sicily in 1789. This drawing, done in 
Naples, is dated 1824. 

87 Josef Kornhausel (about 1782—1860) 

PROJECT FOR A TRIUMPHAL ARCH IN HONOR OF GENERAL 
SKRZYNECKI 

Pencil, pen and ink with watercolors on blue paper. 19% x 20% in. (489 x 716mm.) 

This design was undoubtedly inspired by the brief victories of General Jan Zygmunt 
Skrzynecki (1787-1860), in 1851 Commander-in-Chief of the revolutionary Polish army, 
but it cannot be learned that the monument was ever erected; the year following, Skrzy- 
necki began losing battles. 




Catalogue Number 82 



2J 










\ I 






Catalogue Number 90 



28 



FLANDERS AND THE NETHERLANDS 

88 Jan van der Straet (called Stradanus) (1525-1605) 

A: ELEPHANTS ATTACKED BY THE TROGLODYTES; STAG HUNT 
B: STUDIES FOR THE SILKWORM INDUSTRY 

Pen and bistre ink with bistre wash. A: 8?{6 x 6 3 At in. (218 x 158 mm.); B: 5% 
x 7% in. (150 x 200 mm.) 
Coll.: Piancastelli 

These two quickly-sketched sheets (of about 1578 and 1590, respectively), of over three 
hundred in the Cooper Union Museum's collection, illustrate episodes in Pliny's History 
of the Hunt (I'enationes . . .) and the Silkworm Industry (f'ermis sericus), sent by the 
artist from Florence, where he was employed by the Medici, to Antwerp for publication. 
Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 99; M. Benisovich, in The Art 
Bulletin, 1956, pp. 249-251. 



89 Lodewyk Toeput (called Pozzoserrato) (1550-1605/5) 

FANTASTIC LANDSCAPE 

Pen and bistre ink with bistre wash. 6% x 10% in. (165 x 270 mm.) 
Coll.: Piancastelli; Brandegee 

Though Flemish by birth, Pozzoserrato's principal activity was in Venice, though later he 
moved first to Florence, then to Rome. His strange, fantastic landscapes vaguely recall 
those by Titian and the Bassano, into which he introduced incidental episodes, a man- 
nerism typically Flemish. 



90 Adam (I) van Vianen (1570-1627), Attributed to 

DESIGN FOR A DECORATIVE EWER 

Black and white chalks on brown paper. 16% x 1 1 7 / 8 in. (416 x 502 mm.) 

Coll.: Ogden Codman 
Van Vianen, a goldsmith, in 1614 gave to the City of Amsterdam, in memory of his brother, 
a ewer of design closely similar to this drawing. The drawing may have served, as well, 
for one of the four lost plates of the artist's engraved works, published in 1652—1654 by 
his son. The cartilage-like form of the decoration is typical of Flemish and Dutch Man- 
nerist ornamentation of the period. 



91 Romeyn de Hooghe (1645-1708) 

DESIGN FOR A WALL PAINTING: A GARDEN SCENE 

Pen and ink with bistre wash. 12% x 10^6 in. (508 x 278 mm.) 
Coll.: Goldsmid; Bagellar; Peoli; Hewitt 

The versatile de Hooghe was famous equally as a painter, engraver, sculptor, goldsmith 
and medallist. His best known works are the allegorical paintings that decorate a number 
of Dutch town halls, carried out from 1687 to 1695; this drawing may be a sketch for such 
a decoration. 



92 Daniel Marot (1665-1752) 

DESIGN FOR A DUTCH STATE COACH 

Pen and ink with red and yellow watercolors. 15% x 10^6 in. (545 x 275 mm.) 

Marot, after initial experience as architect to the Dutch State, was called across the Channel 
to England in 1695 by William III, who, as William of Orange, had made the same journey 
in 1689. In England off and on for seven years, Marot there and in the Low Countries was 
considered the most inventive of the ornamental designers of his period. 

2 9 



ENGLAND 

93 Sir James Thornhill (1675—1734) 

DESIGN FOR A PAINTED WALL AND ADJOINING CEILING 

Pen and ink with grey wash. 15% x 7% in. (404 x 200 mm.) 
Coll.: A. Daly; Mrs. C. B. Alexander 

The allegory represented in this drawing is The Palace of Lycomedes, on the ceiling, 
while the scene below shows Achilles Revealing His True Identity. It was Thornhill's 
habit to repeat his compositions, with minor changes being made only to the figures. For 
instance, in many ways this scheme resembles that of the famous Painted Hall of Green- 
wich Hospital (of 1708—1728), that shows The Apotheosis of William and Mary. 

94 Thomas Chippendale (1718—1779) 
DESIGN FOR A LIBRARY BOOKCASE 

Pen and ink with grey wash. 8%6 x 13 in. (218 x 330 mm.) 

Chippendale, whose range of furniture design naturally comprehended the passing fancy 
for the Gothick, published this design only in the third edition of his work, The Gentleman 
and Cabinet-Maker' s Director . . . , 1762. The signature, which oddly enough appears to 
be authentic, is one of the two that are now known. 

Bibl.: C.U.M. Chronicle, Vol. II, No. 4, 1952, p. 106. 

95 Frederick Crace (1779-1859), or Shop 

DESIGN FOR THE WEST WALL OF THE MUSIC ROOM OF THE 
ROYAL PAVILION AT BRIGHTON 

Tempera and watercolors. 13% x 20^6^.(336 x 513 mm.) 

One of seventy-eight drawings for the Royal Pavilion by Crace and his associates in the 
Cooper Union Museum's collection, this scheme shows the taste of the Prince Regent 
(later George IV) in the final phase, toward 1820, of this capricious undertaking, which 
began with Holland's more sober design in 1788. 

Bibl.: E. M. Bloch, in The Connoisseur, June, 1953, p. 131. 



-msMMBk 





Catalogue Number 94 



3° 



UNITED STATES 

96 Frederic Edwin Church (1826-1900) 
NIAGARA FALLS IN WINTER 

Pencil with rose and white heightening on light hrown paper. 12 x 17% in. (305 x 

448 mm.) 

Coll. of the artist; Louis P. Church 
Church made a number of visits to this spot from 1849 to 1857, preparatory to his large 
painting (Corcoran Gallery, Washington) by which his reputation was made. In the 
Cooper Union Museum are many similar drawings and oil sketches showing this scene in 
a variety of moods and seasons. The artist dated this drawing March 21, 1856. 

97 William Stanley Haseltine (1835-1900) 
'BRUGES' 

Pencil, black and white chalks and grey wash on blue-grey paper. 15 x 22>/ 8 in. 

(381 x 560 mm.) 

Coll.: Helen Haseltine Plowden 
Mrs. Plowden relates that her father executed this sensitive drawing in a half-hour, while 
waiting for a train. Known as a "pre-impressionist," Haseltine was one of a number of 
American artists who, settling in Italy, imbued their works with a richness inspired by 
close association with Old World cultures. This drawing probably dates between 1870 and 
1880. 



98 Thomas Moran (1837-1926) 

CLIFFS OF THE RIO VIRGIN, SOUTH UTAH 

Pencil and watercolors with white heightening. 8% x i3 7 / 8 in. (220 x 353 mm.) 

Coll. of the artist 
It was from drawings like this example that Moran composed his larger, more complicated 
paintings in oil, that often convey less convincingly the effects of atmosphere and light so 
apparent here. Moran dated his drawing 1875. 

99 Winslow Homer (1836-1910) 
STUDY FOR 'THE LIFE LINE' 

Charcoal. I7y 2 x 14% in. (445 x 380 mm.) 

Coll.: Charles Savage Homer 
The fury of the sea is felt more keenly in this drawing than in the finished painting in 
oils, dated 1884, for which it is a study. Although continually experimenting in the com- 
bination of techniques, Homer here prefers attaining the effect desired by means of only 
one. 

Bibl.: C.U.M. Chronicle, Vol. I, No. 2, 1936, p. 60. 

100 Eugene Berman (1899— living) 

STAGE DESIGN FOR 'AMAHL AND THE NIGHT VISITORS' FOR 
THE FIRST PRODUCTION AT THE NEW YORK CITY CENTER, 1952 
Pen and ink with tempera and watercolors. g 1 /* x 12 1 /, in. (245 x 518 mm.) 

This final drawing of the exhibition sequence sums up the vitality and the appeal of the 
Cooper Union Museum's collection of drawings, its able draftsmanship communicating 
Berman's imaginative restatement, in contemporary terms, of the age-old mystery and 
promise of the Christmas story. 



3 1 



Index 



Cat. 


No. 




Cat. No. 


Cat. 


No. 


Agricola 


39 


Grasset 


74 


Pillement 


66 


Barbieri (Guercino) 


20 


Guardi 


3° 


Puget 


42 


Basoli 


58 


Guimard 


75 


Banson 


67 


Baumgartner 


82 


Guys 


7 2 , 73 


Reni 


16 


Belanger 


63 


Haseltine 


97 


Robert 


69 


Berman 


100 


Homer 


99 


Sacchi 


18 


Bison 


37 


Hooghe 


9 1 


Salembier 


62 


Boffrand 


53 


Hoppenhaupt 


83 


Salviati 


4 


Bouchardon 


54 


Houel 


7 1 


Sangallo ■ . 


7 


Boucher 


57 


Huquier 


49 


Schor 


78 


Bourguignon (Gravelot) 50 


Huttin 


52 


Servandoni 


58 


Buffagnotti 


2 5 


Juvarra 


26 


Sozi (Sotij) 


8 


Cantagallina 


*3 


Klauber 


85 


Straet, van der 




Carpi, da 


6 


Kornhausel 


87 


(Stradanus) 


88 


Castiglione 


21 


Kniep 


86 


Thornhill 


93 


Cesari (d'Arpino) 


19 


Lajoue, de 


55 


Tiepolo 28 


, 2 9 


Chailleat (Chaillat de 




Lalonde, de 


65 


Troger 


79 


Souplesse, Sciaja) 


41 


Lang 


77 


Toeput (Pozzoserrato) 


89 


Chippendale 


94 


Marchionni 


3 1 


Toselli 


36 


Church 


96 


Marechal 


64 


Turreau (Toro) 


46 


Crace 


95 


Marot 


9 2 


Unknown Florentine 


3,9 


Delafosse 59 


, 60 


Massari 


14 


Unknown French 56 


, 61 


Du Cerceau 


40 


Mondo 


34 


Unknown Italian or 




Duflot 


85 


Montalon 


68 


French 


15 


Eichler 


80 


Moran 


98 


Unknown Mantuan 


22 


F. A. S. 


1 1 


Nahl 


81 


Unknown North Italian 5 


Favanne, de 


48 


Nicoletto Bosex 


da 


Unknown Roman 


2 3 


Fiore 


3 2 


Modena 


2 


Valadier 


35 


Fontebasso 


27 


Nilson 


84 


Verdier 


47 


Franceschini 


24 


Olmutz, von 


76 


Vianen, van 


9° 


Gentili 


10 


Oppenort 


44> 45 


Wailly, de 


70 


Giani 


33 


Oudry 


5 1 


Watteau 


43 


Goetz (Goz) 


85 


Parigi 


17 






Gozzoli 


1 


Passignano 


12 







146 






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